World’s Fairs and Other Expositions

Alice Davis Hitchcock Award for 1992, Society of Architectural Historians.
Most Outstanding Book in Architecture and Urban Planning, Professional and Scholarly Publishing Division, Association of American Publishers, Inc., 1991.
International Architecture Book Award, American Institute of Architects, 1992: "This is magisterial history with a grand sweep, an eye for detail and a determination not to simplify.  If Modern architecture in Italy over five generations was complex, paradoxical and full of counter-tendencies in any one architect, then these are lovingly pulled apart and exposed.""

Il contributo ripercorre la storia del più importante calco novecentesco della Pietà, «calco originale» come lo definisce la museologia di settore, cioè di prima generazione, eseguito dal maestro formatore Francesco Mercatali.  Le ricerche condotte presso l’Archivio della Reverenda Fabbrica della Basilica di San Pietro e presso l’Archivio del Capitolo in occasione del convegno, nonché la ricognizione del fondo FFAS (Formatori Fotografi Artisti e Studiosi) dell’Archivio Storico dei Musei Vaticani, hanno consentito di chiarire molti aspetti della storia esecutiva del calco: la data esatta e le ragioni della sua realizzazione, sinora stranamente nebbiose in letteratura, così come i molti aspetti del suo ruolo di “controfigura” per eccellenza della Pietà nelle vicende cruciali che hanno attraversato la sua storia novecentesca, dalle misure di protezione bellica durante il secondo conflitto mondiale – dalle quali nasce l’idea di realizzare il calco – alla partecipazione dell’originale all’Expo di New York nel 1964-65, sino all’attentato e al restauro del 1972, capitolo drammatico dove il ruolo del calco si rivela cruciale nel ribaltamento che lo rende “matrice” del suo stesso originale nelle parti più danneggiate del volto della Vergine, funzione paradossale di grande interesse anche da un punto di vista sociologico e di storia della cultura. Il contributo ripercorre inoltre le vicende relative all’esecuzione, tra gli anni settanta e ottanta, di altri calchi della Pietà nel Laboratorio Restauro Marmi dei Musei Vaticani, cercando di tracciare una prima mappatura delle copie oggi esistenti provenienti dal calco Mercatali.

O artigo analisa a participação do Pará na Exposição Internacional da Indústria e do Trabalho em Turim, realizada em 1911. A mostra paraense reuniu, sobretudo, produtos oriundos do extrativismo e pode ser caracterizada pelo discurso científico, materializado, principalmente, pela presença de um renomado cientista na comissão organizadora, o botânico suíço Jacques Huber (1867-1914), à época diretor do Museu Goeldi, em Belém. As razões do destaque dado à ciência na exposição paraense de Turim e do envolvimento de um cientista em um certame comercial são estudadas a partir de três questões: as estratégias diplomáticas em jogo; o papel atribuído à ciência na organização da mostra; e as forças dissonantes na representação do país, perceptíveis na dificuldade de elaborar um discurso nacional e na distância entre uma sociedade profundamente desigual e a imagem que se construiu dessa mesma sociedade. (A parte 2 deste artigo será publicada na próxima Varia Historia, vol. 32, n. 58, janeiro-abril 2016)

The article analyses the participation of the Brazilian State of Pará at the International Exposition of Industry and Work in Turin, 1911. The Pará exhibition brought together especially products from the extractivism and may be characterized by its scientific discourse, materialized mainly by the presence of a renowned scientist in the organizing committee, the Swiss botanist Jacques Huber (1867-1914), then Director of the Goeldi Museum in Belém. The reasons to highlight science in the Pará exhibition and for the involvement of a scientist in a commercial event are studied through the following questions: the diplomatic strategies that took place in Turin; the role given to science in the organization of this world’s fair; and the dissonant forces in the representation of Brazil, noticeable on the difficulty of drawing up a national discourse and on the distance between a deeply unequal society and the image that was built of this same society. (The second part of this article will be published in next Varia Historia, vol. 32, n. 58, january-april 2016)

Patrice Ballester " World expo as a marketing and communication tool for the business tourism as part of the Grand Paris / Toulouse 2025 bid?" communication at ORME city events mega-events, 2021, 26 May 2021.

The object of this communication is first of all to relate the original experience of Toulouse metropolis applying as a satellite city of the world expo of Grand Paris 2025, of which I was able to order the entire structure. geohistoric and tourist file with the representative of Tourism of the Metropolis.
The governance of an exhibition city will be the subject of this first part, but also the ability to paint a portrait of a regional metropolis wishing to reap the benefits of a world expo many times over. expected for the country: how to propose a strategy that is both marketing and communication for an innovative and culturally dynamic regional metropolis?
In conclusion, to justify the holding of mega-events, their budgets and the inherent nuisances; the host cities and the national actors of the project are well aware that it is necessary to think more and more at the national level of this type of event and to put forward multiple cooperation with other territories such as metropolises are the gateway. An objective of spatial and social justice is emerging. This reasoning can also be explained by the fact of being able to obtain all the votes (national and regional votes) and necessary funding in the face of increasingly important controversies over their organization.

Ballester, Patrice, (2017), Rapport pour la mairie de Toulouse, So Toulouse agence attractive, pour le dossier de candidature de Toulouse métropole à l'organisation d'un grand Forum thématique et de détours -flâneries lors de l'Exposition universelle du Grand Paris 2025 Vade-mecum pour la rédaction du dossier de la candidature toulousaine, So Toulouse, Toulouseatout, 74 p.

D’une histoire urbaine mondiale à une histoire urbaine locale.
Les expositions universelles et leurs fonctions, du global au local.
Une géographie de la mondialisation

Curieusement, rarement et étonnamment, les relations étroites entre la pratique des expositions universelles du milieu du XIXe siècle jusqu’à nos jours et l’histoire urbaine des villes hôtes n’ont pas fait l’objet de changement d’échelle et de critique historiographique et géographique au plan des apports et des correspondances entre une histoire urbaine locale et une histoire urbaine mondiale. Le réceptacle que sont les expositions universelles nous offre un formidable champ d’investigation pour comprendre les sociétés urbains dans leurs grands traits, mais aussi dans leur capacité à innover, proposer et s’exposer pour des raisons de progrès et de vivre ensemble. Généralement, l’histoire urbaine à pour champ  principal l’étude de l’organisation des villes et les différentes évolutions sociétales  qu’elle connaît. Une multitude de monographies locales sont réalisées à travers le monde et pourtant, avec les expositions universelles on peut dresser un portrait de ville tant historique que géographique permettant de mieux comprendre les adaptations du monde urbain aux effets de la mondialisation et de ses différentes phases.
De plus, les expositions répondent aux autres expositions, elles deviennent une longue chaîne tout en s’influençant et proposant des raccourcis, des amplification ou d’étonnantes similitudes, ce qui d’un côté nous amène à observer une uniformisation des pratiques, mais aussi des différenciations qui s’appuient sur les identités locales tout en rapprochant les formes urbaines créées pour l’occasion.
A travers ce travail de recherche sur les expositions universelles et l’importance de son rattachement à l’histoire et géographie de la métropole de Toulouse, deux histoires, deux géographies en parallèle s’entrecroisent, se répondent et expliquent en partie pour les grandes métropoles les effets de la mondialisation des cultures, des savoirs, des techniques et des modes de vie.
D’une histoire urbaine mondiale à une histoire urbaine locale.

Les expositions universelles et leurs fonctions, du global au local.

Une géographie de la mondialisation

Curieusement, rarement et étonnamment, les relations étroites entre la pratique des expositions universelles du milieu du XIXe siècle jusqu’à nos jours et l’histoire urbaine des villes hôtes n’ont pas fait l’objet de changement d’échelle et de critique historiographique et géographique au plan des apports et des correspondances entre une histoire urbaine locale et une histoire urbaine mondiale. Le réceptacle que sont les expositions universelles nous offre un formidable champ d’investigation pour comprendre les sociétés urbains dans leurs grands traits, mais aussi dans leur capacité à innover, proposer et s’exposer pour des raisons de progrès et de vivre ensemble. Généralement, l’histoire urbaine à pour champ  principal l’étude de l’organisation des villes et les différentes évolutions sociétales  qu’elle connaît. Une multitude de monographies locales sont réalisées à travers le monde et pourtant, avec les expositions universelles on peut dresser un portrait de ville tant historique que géographique permettant de mieux comprendre les adaptations du monde urbain aux effets de la mondialisation et de ses différentes phases.
De plus, les expositions répondent aux autres expositions, elles deviennent une longue chaîne tout en s’influençant et proposant des raccourcis, des amplification ou d’étonnantes similitudes, ce qui d’un côté nous amène à observer une uniformisation des pratiques, mais aussi des différenciations qui s’appuient sur les identités locales tout en rapprochant les formes urbaines créées pour l’occasion.
A travers ce travail de recherche sur les expositions universelles et l’importance de son rattachement à l’histoire et géographie de la métropole de Toulouse, deux histoires, deux géographies en parallèle s’entrecroisent, se répondent et expliquent en partie pour les grandes métropoles les effets de la mondialisation des cultures, des savoirs, des techniques et des modes de vie.

From a world urban history to a local urban history.
The World Fairs and their functions, global to local
A geography of the globalization

Curiously, rarely and strangely, the narrow relations between the practice of the World Fairs  (World expo) of the middle of the XIXth century until our days and the urban history of cities hosts were not the object of change of scale and of historiographical and geographical criticism in the plan of the contributions and of the correspondences between a local urban history and a world urban history.
The receptacle that are the World Fairs (World expo) offers us a great field of investigation to understand the urban societies in their big features, but also in their capacity to be innovated, to propose and to expose for reasons of progress and to live together. Generally, the urban history in for main field the study of the organization of cities and the various societal evolutions which she (it) knows. A multitude of local monographs is worldwide realized and nevertheless, with the World Fairs we can raise city portrait so historic as geographical allowing to understand better the adaptations of the urban world to the effects of the globalization and its various phases.
De una historia urbana global a una historia urbana local.
Exposiciones universales y sus funciones, desde lo global a lo local.
Una geografía de la globalización

Curiosamente, rara vez objeto y, sorprendentemente, la estrecha relación entre la práctica de las exposiciones universales de mediados del siglo XIX hasta la actualidad y la historia urbana de las ciudades anfitrionas no han estado reduciendo historiográfico y crítico y geográfico en términos de contribuciones y conexiones entre una historia urbana local y una historia urbana mundial. El receptáculo que es la muestra universal nos ofrece un formidable campo de investigación para entender las sociedades urbanas en sus características principales, pero también en su capacidad de innovar, proponer y exponerse por razones de progreso y de convivencia. En general, la historia urbana tiene como campo principal el estudio de la organización de las ciudades y las diversas evoluciones sociales que conoce. Una multitud de monografías locales se producen en todo el mundo y, sin embargo, con las exposiciones universales se puede dibujar un retrato de la ciudad histórica y geográfica para comprender mejor las adaptaciones del mundo urbano a los efectos de la globalización y sus diversas fases.
Además, las exposiciones responden a otras exposiciones, se convierten en una cadena larga al tiempo que influyen y ofrecen accesos directos, amplificación o similitudes sorprendentes, lo que por un lado nos lleva a observar una estandarización de prácticas, pero también diferenciaciones que se basan en identidades locales al unir formas urbanas creadas para la ocasión.
A través de este trabajo de investigación sobre exposiciones universales y la importancia de su conexión con la historia y la geografía de la metrópoli de Toulouse, dos historias, dos geografías en paralelo se entrelazan, responden y explican, en parte, a las principales ciudades los efectos de la globalización de las culturas, los conocimientos, las técnicas y las formas de vida.

Les expositions universelles, une utopie touristique toujours d’actualité ? World’s Fair, The Renew of Touristic Utopia? ¿Exposiciones universales, una utopía turística siempre de actualidad? À travers les expositions universelles récentes et passées et plus particulièrement les expositions de Milan 2015 et de Port-au-Prince 1949, nous rappelons que cette pratique touristique du voyage d’agrément dans une grande ville remonte au XIXe siècle, elle accompagne les origines de notre tourisme moderne, tout en devenant un instrument de géopolitique et de marketing touristique de première importance pour les villes et les pays hôtes. Les expositions peuvent être considérées comme un levier urbanistique, mais aussi un moyen de faire voyager et de comprendre notre monde à travers un système de représentation des identités locales et mondiales proposant toujours une mise en valeur de la découverte scientifique et de l’expérience culturelle à travers les pavillons nationaux. Ces manifestations géantes reposent sur une mise en scène et en récit à partir d’un thème universel questionnant généralement le concept du développement durable et de l’attractivité touristique renouvelée de la destination. Notre analyse porte sur la plus récente des expositions universelles et une exposition oubliée appartenant à l’aire culturelle des caraïbes permettant de dégager trois dynamiques associant le tourisme de méga-événement et l’utopie des voyages initiatiques, à savoir : les expositions universelles se réinventent et retrouvent un certain succès de fréquentation impliquant une redéfinition des champs et des usages d’une utopie contrariée. Faire voyager est un acte à la fois scénographique et symbolique à travers le pavillon impliquant des artifices et des déclinaisons de plus en plus numériques, la quête de cette pratique durable du voyage se confronte à son héritage et à son souvenir à différentes échelles et temporalités. Through the recent and past universal exhibitions and more particularly the world’s fair of Milan 2015 and Port-au-Prince 1949, we recall that this tourist practice of the pleasure trip in a large city dates back to the XIXth century, it accompanies the origins of Our modern tourism, while becoming an instrument of geopolitics and tourist marketing of prime importance to cities and host countries. Exhibitions can be seen as an urban lever, but also a way to make travel and understand our world through a system of representation of local and global identities that always emphasizes scientific discovery and cultural experience through the national pavilion. These giant events are based on a staging and narrative based on a universal theme generally questioning the concept of sustainable development and the renewed attractiveness of the destination. Our analysis focuses on the most recent of the universal exhibitions and a forgotten exhibition belonging to the cultural area of the Caribbean, which reveals three dynamics associating mega-event tourism with the utopia of initiatory journeys, namely: reinvent and regain a certain success of frequentation implying a redefinition of the fields and uses of a disrupted utopia; to make travel is an act both scenographic and symbolic through the pavilion involving artifices and more and more digital declensions, the quest for this sustainable practice of travel is confronted with its heritage and its memory at different scales and temporalities. A través de las exposiciones universales recientes y pasados y, especialmente, la Feria de Milán en 2015 y Puerto Príncipe en 1949, recordamos que esta práctica de turismo de viaje de placer a una gran ciudad se remonta al siglo XIX, que acompaña a los orígenes de turismo moderno, mientras que convertirse en un instrumento geopolítico y comercialización del turismo de las principales ciudades y países anfitriones. Las exposiciones pueden considerarse una palanca urbana, sino también una manera de viajar y entender nuestro mundo a través de un sistema de representación de las identidades locales y globales que todavía ofrece el desarrollo de los descubrimientos científicos y la experiencia cultural a través pabellones nacionales. Estas manifestaciones gigantes basados en una puesta en escena y la narrativa de un tema universal en general, cuestionando el concepto de desarrollo sostenible y renovada atractivos turísticos del destino. Nuestro análisis se centra en las últimas exposiciones universales y una exposición olvidado que pertenecen a la zona cultural del Caribe para identificar tres dinámico entre el turismo mega-evento y la utopía de los viajes iniciáticos, a saber: las exposiciones universales reinventar y encontrar un cierto éxito de asistencia que implica una redefinición de campos y utiliza una utopía alterada, para viajar es un acto tanto teatral y simbólico a través del pabellón y declinaciones cada vez más digitales, las la búsqueda de este viaje práctica sostenible se enfrenta a su artificialidad y su memoria en diferentes escalas y marcos de tiempo. Index géographique : Europe, Caraïbes, Italie, Haïti, France, Milan, Port-au-Prince, New York, Osaka Mots-clés : exposition universelle, utopie, tourisme, architecture, urbanisme Palabras claves : expo, utopía, turismo, arquitectura, urbanismo Keywords : world’s fair, utopia, tourism, architecture, city-planning Patrice Ballester, Les expositions universelles, une utopie touristique toujours d’actualité ? World’s Fair, The Renew of Touristic Utopia? ¿Exposiciones universales, una utopía turística siempre de actualidad?, Études caribéennes 37-38, Août-Décembre 2017 Tourismes, voyages, utopies, pp.1-26.

Dossier de candidature à l’Exposition universelle 2025 – GRAND PARIS - FORUM THÉMATIQUE TOULOUSE - UNE ODYSSÉE CONNECTÉE ENTRE TERRE ET CIEL À PARTAGER: La France s’est portée candidate pour l’Exposition universelle 2025 sur le thème « La connaissance à partager, la planète à préserver ». Toulouse Métropole, le département de Haute-Garonne, la région Occitanie et de nombreux autres partenaires régionaux, européens et internationaux proposent un forum thématique : UNE ODYSSÉE CONNECTÉE ENTRE TERRE ET CIEL À PARTAGER. S’engager pour l’Exposition universelle de 2025 est pour Toulouse un moyen de mettre à la disposition de ce grand événement non seulement sa vitrine technologique parmi les plus puissantes de France et d’Europe, mais également les atouts uniques de la région Occitanie, dont elle est la capitale. L’ambition européenne du territoire métropolitain et régional ont amené Toulouse Métropole et la région Occitanie à engager des démarches au sein d’une stratégie régionale de l’innovation autour de trois axes : attractivité et rayonnement, innovation, et dynamique de créations d’entreprises. Ce pacte conduit les territoires à oeuvrer ensemble sur les sujets majeurs. De 2018 à 2025, nous nous attacherons à amplifier le lien entre les nombreux événements du territoire, les activités des entreprises et le projet afin que le Forum thématique de l’Exposition universelle 2025 de Toulouse soit en totale cohérence avec sa politique d’attractivité et porté comme une évidence par tous les acteurs. Toulouse a ainsi choisi de faire vivre au public une véritable « odyssée connectée entre Terre et ciel à partager ». En relais direct du thème choisi par ExpoFrance, « La connaissance à partager, la planète à protéger », notre ville est le lien évident entre le savoir, à travers son tissu académique et de recherche, et l’enjeu primordial de la préservation de la planète. Creuset de l’exploration spatiale et de l’observation de la Terre, Toulouse entend capitaliser sur ces actifs précieux pour accélérer l’indispensable prise de conscience sur la protection de la planète auprès de tous les publics. C’est en effet depuis l’espace que l’on observe le mieux la Terre, préalable scientifique au déploiement d’actions correctives des comportements de l’Homme à l’égard des ressources naturelles. Ce défi ne peut être relevé que tous ensemble. C’est pour cela que la candidature de Toulouse pour l’Exposition universelle de 2025 rassemblera les habitants, les acteurs socio-économiques et les collectivités pour en faire un événement universel, à destination de tous, sur le territoire métropolitain. Toulouse est convaincue que l’attractivité ne se décrète pas : elle se prouve et s’entretient au quotidien. Une Exposition internationale est « une manifestation ouverte à tous les domaines de l’activité humaine, où sont présentés des produits provenant de toutes les nations ». L’importance du terme « progrès » est manifeste, tant dans les œuvres exposées que dans le résultat concret sur les plans urbanistique et architectural de la manifestation. Aujourd’hui, la candidature officielle de Paris 2025 peut être un nouvel élément dans cette longue chaîne d’innovation et de l’histoire urbaine parisienne ; nous supposons que Paris veut à nouveau inventer, créer et innover dans le domaine des Expositions. ExpoFrance 2025 : projet Toulouse  Un territoire légitime : motivations et dessein  Toulouse, ville partenaire-satellite de l’Exposition universelle 2025  L’Exposition universelle à Toulouse  Une odyssée connectée entre Terre et ciel à partager  L’expérience visiteur  Les autres pays de l’exposition Les sites proposés  Les modalités logistiques Les modalités économiques et financières  La mobilisation de l’écosystème  Annexe : un comité de soutien large
Ballester, Patrice ( 2017), Application file in the World Fair  World expo 2025 - GREAT PARIS - THEMATIC FORUM TOULOUSE - A CONNECTED ODYSSEY ENTERS EARTH AND SKY TO BE SHARED, So Toulouse Agence d’attractivité, p.2-9 ; 15-19 ; 22-23. _
Ballester, Patrice ( 2017), Exposición universal 2025 - GRAND PARIS - FORO TEMATICO TOULOUSE - UNA ODISEA CONECTADA ENTRE LA TIERRA Y EL CIELO PARA COMPARTIR, So Toulouse Agence d’attractivité, p.2-9 ; 15-19 ; 22-23.
Application file in the World Fair  World expo 2025 - GREAT PARIS - THEMATIC FORUM TOULOUSE - A CONNECTED ODYSSEY ENTERS EARTH AND SKY TO BE SHARED

France applied for the World Fair World expo 2025 on the theme "The knowledge to be shared, the planet to be protected ". Toulouse Metropolis, the department of Haute-Garonne, the region Occitania and many more partners regional, European and international propose a thematic forum: A CONNECTED ODYSSEY ENTERS EARTH AND SKY TO BE SHARED. Make a commitment for the World Fair – World expo of 2025 is for Toulouse a means to give to this big event not only its technological shop showcase among the most powerful of France and Europe, but also the unique assets of the region Occitania, the capital of which it is. The European ambition of the metropolitan and regional territory brought Toulouse Metropolis and the region Occitania to hire initiatives within a regional strategy of the innovation around three axes: attractiveness and hub, innovation, and dynamics of new business start-ups. This pact leads territories to work together on the major subjects. From 2018 till 2025, we shall attempt to amplify the link between the numerous events of the territory, the activities of companies and the project so that the thematic Forum of the World Fair World expo 2025 of Toulouse is in total coherence with its politics of attractiveness and carried as an obvious fact by all the actors. Toulouse so chose to make live in the public a real "odyssey connected between Earth and sky to be shared". In direct relay of the theme chosen by ExpoFrance, "The knowledge to be shared, the planet to be protected ", our city is the obvious link enters the knowledge, through its academic tissue and of research, and the essential stake in the conservation of the planet. Melting pot of the space exploration and the observation of the Earth, Toulouse intends to capitalize on these precious active persons to accelerate the essential awareness on the protection of the planet with all the public. It is indeed since the space that we observe best the Earth, the scientific prerequisite in the deployment of corrective actions of the behavior of the Man towards natural resources. This challenge can be raised only all together. That's why the candidacy of Toulouse for the World Fair – World expo of 2025 will gather the inhabitants, the socioeconomic actors and the communities to make a universal event, aimed at all, on the metropolitan territory. Toulouse is convinced that the attractiveness does not decree: she – the city -  proves to itself. An world’s fair – World expo is " a demonstration open to all the domains of the human activity, where are presented products resulting from all the nations ". The importance of the term "progress" is obvious, both in the exposed works and in the concrete result on the city planning and architectural plans of the demonstration. Today, the official candidacy of Paris 2025 can be a new element in this long chain of innovation and the Parisian urban history; we suppose that Paris again wants to invent, to create and to innovate in the field of the World’s fair – World expo. 2025 ExpoFrance: Toulouse project  A justifiable territory: motivations and intention  Toulouse, partner-satellite city of the World Fair – World expo - 2025  The World Fair  World expo in Toulouse  An odyssey connected between Earth and sky to be shared  The experience visitor  Other countries of the exhibition  The proposed sites  The logistic modalities The economic and financial modalities The mobilization of the ecosystem  Appendix: a wide support committee - Exposición universal 2025 - GRAND PARIS - FORO TEMATICO TOULOUSE - UNA ODISEA CONECTADA ENTRE LA TIERRA Y EL CIELO PARA COMPARTIR Francia ha nominado para la Exposición Universal de 2025 sobre el tema "El conocimiento para compartir, el planeta para preservar". Toulouse Metrópoli, el departamento de Haute-Garonne, la región de Occitana y muchos otros socios regionales, europeos e internacionales proponen un foro temático: UNA ODISEA CONECTADA ENTRE LA TIERRA Y EL CIELO PARA COMPARTIR. Comprometerse con la Exposición Mundial 2025 es para Tolosa una forma de poner a disposición de este gran evento no solo su escaparate tecnológico entre los más poderosos de Francia y Europa, sino también los activos únicos de la región occitana, de que ella es la capital. La ambición europea del territorio metropolitano y regional ha llevado a Tolosa Metrópoli y la región de Occitana a tomar medidas dentro de una estrategia regional de innovación en torno a tres ejes: atractivo e influencia, innovación y creaciones comerciales dinámicas.

« Une idée, une cité et l’humanité » telle est la devise du B.I.E. (Bureau International des Expositions). Pour cette année 2002, Master villes : territoires et territorialités, j’ai décidé de consacrer mon travail sur les Expositions Universelles et Internationales – grands projets d’aménagement de l’espace. Une année de master recherche se veut un exercice d’approfondissement pour l’étudiant dans le domaine de la recherche. Le diplôme d’étude approfondie doit permettre à l’étudiant d’appréhender un sujet d’ordre général à partir d’une problématique générale, pour enfin ouvrir sur une question plus précise (une hypothèse de recherche, des hypothèses, une typologie, des solutions ou éclaircissements nouveaux). Pour ma part, j’ai décidé de commencer mes recherches sur les Expositions en tant qu’objet d’étude géographique et leurs impacts sur l’urbanisme, à partir d’une question basée sur le développement durable de la ville : « Les Expositions Universelles ou Internationales ont-elles un effet durable ou éphémère sur l’aménagement et la planification d’un territoire ou d’une cité ? ». Nous verrons tout au long du développement que rien n’est moins sûr concernant la ou les répercussions des effets négatifs ou positifs de ces manifestations géantes ; mais qu’au contraire leurs dimensions culturelles, sociétales et géographiques sont prépondérantes dans le choix de leurs organisations. On s’apercevra au fil du mémoire que la cette question et cette pratique sont en plein renouvellement du fait de la mondialisation et ses effets, mais aussi du processus de métropolisation et ses conséquences sur la dotation en infrastructures majeures pour les villes mondiales.
Pour ouvrir mes propos, dans ma troisième partie, j’élabore une hypothèse de recherche sur la ville de Barcelone par rapport à la problématique de départ. Je préciserai ma recherche sur la capitale catalane à travers ses nombreux méga-événements. À ce titre, pour rentrer directement dans le sujet, j’ai associé à cette introduction, deux articles et deux commentaires permettant de mieux cerner et de comprendre la teneur de mon mémoire. Le premier article est un reportage de Nelly Wenger qui propose une lecture originale des effets durables de l’éphémère de l’Exposition Nationale suisse de 2002, le second est un article de Christophe Dechenay qui propose un commentaire sur la tenue possible de l’Exposition internationale en 2004 dans la banlieue parisienne1. L’analyse des ces deux propos nous montrent deux stratégies différentes, deux points de vue à prendre en compte pour ces projets reflétant une société et une grande métropole généralement. …

Universal and international Exhibitions (World’s fair), an
object of geographical and town planning study (Preliminary Case Study Barcelona)

Introduction "An idea, a city and humanity" is the motto of B.I.E. (International Office of Exhibitions). For this year, 2002, Master cities: territories and territoriality, I decided to dedicate my work on the World and International Exhibitions (world’s fair) - major development projects in space. A year of research master wants an up Exercises for the student in the field of research. The comprehensive study degree must enable students to grasp a general nature about from a general problem, to finally open on a more specific question (a research hypothesis, assumptions, and a typology of new solutions or explanations). For my part, I decided to start my research on shows as an object of geographical study and their impact on urban planning, from a question based on the sustainable development of the city: world’s fairs do they have sustainable or ephemeral impact on the development and planning of a city? We will see throughout the development as nothing is less sure about the impact or the negative or positive effects of these giant events; but to make their cultural, societal and geographical dimensions are paramount in the choice of their organizations. It will be seen over memory than this and this practice is in full renewal due to globalization and its effects, but also the metropolisation process and its impact on major infrastructure endowment for the world's cities.
To open my remarks, in my third part, I develop a research hypothesis on Barcelona city compared to the initial problem. I will describe my research on the Catalan capital through its many mega-events. As such, to enter directly into the subject, I have associated with this introduction, two articles and two reviews to better identify and understand the content of my memory. The first item is a report by Nelly Wenger, which offers an original reading of the lasting effects of ephemeral of the Swiss National Exhibition in 2002; the second is an article by Christophe Dechenay offering a comment about the possible holding of the exhibition international in 2004 in the Paris suburbs (1). The analysis of these two comments shows us two views to be considered for these projects reflect a society and generally a great metropolis.

BALLESTER Patrice, (2002), Les Expositions universelles et internationales comme objet d’étude géographique et urbanistique (étude préliminaire sur Barcelone), mémoire de master 2 recherche (titre de), Université de Toulouse Le –Mirail, 174 p.

While China integrates Western values, it is creating a subtle shift between exogenous concepts and the re-appropriation of the latter—in dealing for the most part with so-called universal themes—with regard to its own symbolical system. To be more precise, it is new Confucianism”  that prevails today in the country’s system of governance. This is based on the idea that Far Eastern values should be taken in consideration again in contemporary societies without however discrediting Western ones, in keeping with the circle of influence of globalisation. China has revised and exploited these values; it has reinterpreted its so-called “classical” school of thought—and the symbolism associated with it—in order to adapt itself to the present time and to conceive its contemporary society from an international perspective. The historical events of the second half of the twentieth century in fact left a gaping cultural hole, a real stigma that Hu Jintao’s government, following on from Jiang Zemin’s, attempted to remove—and no doubt the new government under Xi Jinping will follow in his predecessors’ footsteps.
Due to this lack of logic in its own historical and cultural continuity, due to the total breakdown of its social structures that offended its national identity, Chinese society now regards its localities, objects, monuments, ancient artefacts and concepts as reflexive items that mirror its history and culture. It uses them to ensure the permanence of its symbolic order.  China reinvents, redeems, rebuilds by grafting significations on the relevant items in line with State Orthodoxy. Through this patrimonial undertaking, time gaps are “filled in” and a new order is affirmed. This article sets out to analyse this semantic shift from an ancient set of symbols to a set of symbols that are re-examined using the present as a yardstick.  The building commonly known as “The Crown of the East”  is representative of the “re-interpretative” ideology associating modernity and antiquity and more to the point, it encrypts the neo-Confucian vision of the contemporary world.

The postponement of Dubai expo 2020 [ World expo - World's fair ]
Le possible report de Dubai expo 2020, exposition universelle.
In the history and geography of world exhibitions, there have been cancellations of exhibitions such as that of 1942 in Rome and the EUR 42 district, however, leaving a modern administrative, congress and sports space. In 1930 under the supervision of the architect Marcello Piacentini and the curator Vittorio Cini, with a view to hosting the universal exhibition planned for the year 1942, an urbanization in the south of Rome resulted in the creation of a whole new district, but the universal exhibition was canceled in 1939 due to the Second World War. It was the same in France for the episodes of 1989 and 2004 (international exhibition). There are also shortcomings in applying for universal exhibitions, with the pitiful cancellation of the French candidacy for the universal exhibition in 2025 as an example. The same was true in the 1970s, 1980s and 1990s, generally with economic crises in relationship with political actors who cannot justify their organization or interrupt applications.

Ballester, Patrice, 2020, The possible postponement of Dubai expo 2020 [ World expo - World's fair ], feuillet de recherche, 6 p.

Une odyssée connectée entre Terre et Ciel à partager, préserver la planète vue du ciel.
Légitimité du territoire par rapport à ce thème
La ville de Toulouse a organisé à plusieurs reprises des expositions internationales, nationales et régionales, découlant directement des expositions universelles et internationales, qui sont à l’origine de la Foire internationale de Toulouse.
Lors de l’Exposition universelle de 1900 l’Observatoire de Toulouse participe à la création et au renouvellement de la carte du Ciel qui y sera présentée et obtient une médaille d’or grâce à la collection de clichés obtenus par Bourget et Montangerand.
La volonté de Toulouse était donc de bâtir un projet pérenne autour d’un thème issu de son ADN et s’illustrant d’ores et déjà dans la Métropole. Toulouse affiche en effet des leaderships incontestés en matière d’aéronautique, spatial et de médiation scientifique qui font d’elle une capitale savante et vivante qui irrigue l’ensemble du territoire.
Orientation(s) choisie(s) pour l’expérience qui sera offerte aux visiteurs
Autour des thèmes centraux de l’Espace, l’Aéronautique et de la Médiation scientifique, Toulouse souhaite proposer une programmation permettant une déambulation scientifique au coeur d’une cité innovante. L’intention est ainsi de concevoir un parcours au coeur de Toulouse et de ses abords, reliant les grands équipements et sites de culture scientifique : Muséum et Quais des savoirs, Piste des Géants (quartier de Montaudran, la Cité de l’Espace, Aéroscopia ainsi que le dôme de la Grave.
Par ailleurs, des navettes immersives offriront des expériences 3D/Hologramme/VR. Elles permettront une visualisation d’images ou la connexion à la sphère du Village global ou aux autres Forums thématiques.
Le Forum répondra aux 8 fonctions de la modernité des Expositions universelles définies par le chercheur et historien Pascal Ory : Exhibition technologique, fonctions de foire commerciale, d’exercice architectural, de levier urbanistique, d’exposition d’art, de « garden-party » de la puissance invitante, de société des nations et de fête populaire.
Ballester, Patrice (2017), "Expo France, Forum Thématiques",  Expo France GIP, p.11.

ALBUM PHOTOGRAPHIQUE DE L’EXPOSITION INTERNATIONALE DE BARCELONE EN 1929
Suivi de cartes postales des années 1920/1936
On notera qu’à la page 104, on retrouve une carte postale de la Place des Armes du Parc de la Citadelle où le paysagiste français Jean-Claude Nicolas Forestier propose un aménagement paysager de l’espace public dans le cadre de l’embellissement de tous les espaces publics et parcs de Barcelone qui s’apprête à recevoir de nombreux visiteurs.
Année 1920/1926, à déterminer.

PHOTOGRAPHIC ALBUM OF THE INTERNATIONAL EXHIBITION OF BARCELONA IN 1929
With Postcard from the 1920s / 1936s
Note that on the page 104, there is a postcard from the Place des Armes in the Parc de la Citadelle where the French landscaper Jean-Claude Nicolas Forestier offers landscaping of public space as part of the beautification of all the public spaces and parks of Barcelona which is preparing to receive many visitors.
Year 1920/1926, to be determined.

EXTRAITS / EXTRACT’S
ALBUM FOTOGRAFICO, EXPOSICION INTERNACIONAL DE BARCELONA, 1929, CONCESIONES GRAFICAS, CORTES 596, BARCELONA.
1929 CONCESIONES GRÁFICAS, BCA 57 HUECOGRABADOS. ALBUM FOTOGRAFICO. 42X34 CM.
DALMAU OLIVERES S.A.
EL PRIMER TOMO, EXPOSICIÓN UNIVERSAL INTERNACIONAL BARCELONA MCMXXIX, CONSTA DE 56 FOTOGRAFÍAS Y 1 DOBLE.
PLACE D'ARMES, AVEC LA SCULPTURE DESCONSOL DE JOSEP LLIMONA  ET AU FOND, LE PARLEMENT DE CATALOGNE

This paper analyzes the international exhibition world's fair planning strategies despite their ephemeral characters are symbolic projects and structuring developments within the various stages of the Industrial Revolution. By landscapes and urban symbols, these shows leave a significant landmark on the urban grid of the host cities, but also in the mentality, urban representations and the techniques of construction. The symbolic aspect and the gigantic facilities will serve as guidelines for planners-architects in charge of their organization. The main political actors and the development of cities have recognized early the power and possibilities of these events to structure social life and urban landscape of cities. From the moment we decided to organize an exhibition, developers start with a dual objective, namely to build and manage the ephemeral and sustainable. Unlike the development of a large development project as the regeneration of a neighborhood, the Exhibition must be designed and constructed in three phases. There is one more step, one before (the strategy) a while (the course of the festival, usually six months) and after (the end of the exhibition, its balance sheet and reuse infrastructure or not). We are facing a much more complex Planner Action to be taken into account by decision makers or not the time and very often elected officials inheriting these fairs infrastructure. The touristic and urban history of Paris and Barcelona justified by example and comparing the uniqueness of these events. The example of Paris is exemplary through its heritage of world exhibitions of the nineteenth century and its international exhibitions of 1925, 1931 and 1937. As for Barcelona and his first experience of World Expo 1888 it turn implies a long political and urban processes leading to the Montjuic international Exhibition in 1929. The choice of these two cities is not neutral. In the early twentieth century, Paris is a model for the Catalan intelligentsia. Barcelona wants to be the "Paris of the South of Europe." How not to see the realization of the Park of the Citadel in 1888 in Barcelona a replica of Park Monceau in Paris, the same view for the development of the Montjuic hill in 1929 and designed by architect Cadafalch policy on man the model of the Parisian perspective Champ de Mars / Chaillot Hill: the rule and model are at work. As such, the hill and the redemptive religious center of Montmartre and the hill of Tibidabo with its redemptive church also are parallel to consider. Organizing an exhibition is accompanied by mobilization and justification of financial and human resources, this through political actors and private public works companies. The symbolic, the political message, cultural or economic become legitimacy of public action elements. In addition, the urban grid of the restructuring deal with the issue of transience must be addressed. This is the question of choosing between the provisional (destruction) and sustainable (urban heritage) against the vision of the planners in charge of exhibition parks projects. We will close our reflection on the contribution and usefulness of these ephemeral events from the perspective of technology and innovations in the construction and the landscaping.

Labyrinth was the product of two groups of cultural workers. The first group, and main instigators of the project, was from the National Film Board (NFB). This group was lead by Roman Kroitor with filming roughly divided between Kroitor, Colin Low and Hugh O'Connor. Kroitor, Low and O'Connor had all been involved in developing a documentary poetics at unit B of the NFB (which was, incidentally, established by the documentary filmmaker John Grierson in 1939), and they had become known for their cinema verité documentary films. The second group was the architectural partnership of John Brand (who was also director of the School of Architecture at McGill University, Montreal), Roy E. LeMoyne, Gordon Edwards and Anthony Shine.
To my mind the term 'phantasmagoria' offers a productive and critical context for the study of Labyrinth because, while the term includes a phenomenological orientation (phantasmagoria necessarily includes some form of enchantment or bewitchment), it also links the phantasmagoric to some of the key features of modern industrial culture – widespread technological mediation, the commodity form, the contradictory amalgam of reason and superstition, the dream-like quality of its entertainments, and so on. Since Marx's claim that commodities were phantasmagoric, the term has been used in cultural theory (however unevenly) to designate a form peculiar to capitalist society. To privilege phantasmagoria, then, is to insist that analysis takes a socially critical perspective. It was this perspective that the German cultural critic and historian Walter Benjamin most famously developed, and it is Benjamin who most persuasively deployed the term to understand the importance of world exhibitions for modern capitalist culture. So before returning to Expo 67 I need to flesh out my belief that it will be the deployment of phantasmagoria (as a critical category) that will lead us into and out of the labyrinth.

Yuk King Tan’s video Limits of Visibility (2012) transports the viewer to the bay of Hong Kong and the cargo area where a tonnage of paper (the perpetual waste, even in the digital age) is compacted into modular cubes, stacked and waiting to be craned onto long barges. Tan asserts that the ‘material is prepared to become another kind of vast colony [see plate 11]. Sent to less developed countries [to be] further broken down and salvaged, the waste material is a literal paper trail about the scale, power and wastage of economic development and trade.’

Between 1862 and 1889, the Brazilian elite perceived international exhibitions as an opportunity to promote and project an idealized image of the “modern nation”. By displaying commodities and agricultural products, as well as some manufactured artifacts, Brazil sought to attract foreign investment and immigrants. However, in contrast to its Spanish American competitors at the world’s fairs, many of Brazil’s exhibits derived from slave labor. To downplay this unpleasant reality before a critical international audience, the exhibition organizers used the “objective” medium of photography to depict their country as overwhelmingly European, focusing on the gradual process of “whitening” through immigration. In addition, a few carefully selected photographs of black people aimed to corroborate the “benevolent” nature of the Brazilian slavery system.

Résumé: Le 16 décembre 2004, le Bureau International des Expositions (B.I.E.) choisit comme pays organisateur de la prochaine exposition internationale, l’Espagne et sa ville candidate, la métropole de Saragosse. Nous analysons dans un premier temps le cheminement « les chemins » des candidatures à l’élection de la ville hôte de l’exposition internationale de 2008, puis dans un second temps de reprendre l’ensemble de la procédure de l’élaboration, justification et réalisation de l’exposition internationale de 2008 à Saragosse dans le contexte de la mondialisation générateur de nouvelles formes urbaines et de modes de gouvernance par la mutualisation et coordination de l’ensemble des moyens financiers, fonciers, humains et intellectuels d’une région. Il reste néanmoins quelques risques à mettre en avant concernant ces mégaprojets et des défauts de gouvernance.
Mots clés : Gouvernance urbaine, exposition internationale, compétition, communication, marketing,  Saragosse

Abstract:  Paths of governance “Expo 2008 Zaragoza Spain”
On 16 November 2004, Saragossa is chosen by the International Exhibition Office (I.E.O) like the next International Exhibition’s city, in Spain. The object of this communication is to analyse in the first time the progress of the candidate cities whisking organize an Exhibition; then in the second time to evaluate the candidature of Saragossa EXPO 2008 in the context of globalization generator of new urban forms and governance by pooling and coordinating all financial, land, human and intellectual resources of a region. There remains some risk to put forward for these mega projects and bad governance.
Key-words:  Urban Governance, international Exhibition, competition, communication, marketing, Saragossa

BALLESTER Patrice, (2005b), « Les chemins de la gouvernance. Saragosse Expo 2008» in Actes du 41ème Colloque de l’Association de Science Régionale De Langue Française (ASRDLF), Villes et territoires face au défi de la mondialisation, Dijon, 5‐7 septembre, pp.1-28. Réf. 18, <ftp://ungaro.u-bourgogne.fr/asrdlf/papiers/Ballester.pdf>

Many events from Chicago history are evoked to create public excitement, community interest, and even ownership over elements of the contemporary city. Chicago's municipal flag does some of this symbolic work. Adopted in 1917, it depicts four six-pointed red stars, each commemorating an important Chicago event according to the city's dominant historical narrative. 1 The Battle of Chicago's Fort Dearborn is the first star, with the 1812 "massacre" reframed to hold white army soldiers and settlers blameless, unprovokingly victimized by Potawatomi warriors. Today brass plates embedded in the sidewalk demarcate the Fort's former location at the confluence of the Chicago River and Lake Michigan, a site now the center of a global city whose skyscrapers and spaces for mass consumerism cast their shadows where fortifications once stood. The second star represents the 1871 Chicago Fire, which destroyed over four square miles of the city's central commercial district and cost upwards of $150 million in damages. 2 The event continues to be used to unjustly incriminate Mrs. O'Leary's unfortunate cow and the Irish working-class men and women of that immigrant neighborhood, but it is also summoned to justify phoenixlike returns from ashes, including twenty-first-century construction projects. But no one event so thoroughly captured and continues to haunt the public and literary imagination as much as Chicago's 1893 World's Columbian Exposition, an event marked by the third star on the flag. 3 Known colloquially as the Chicago Fair, the primary, secondary, and even tertiary documentary record of this six-month long spectacle is encyclopedic in scope and breadth. 4 That record consists of endless bureaucratic accounts emblematic of the age of "the incorporation of America": newspaper articles and entire serials printed at the Fair for its six-month run, such as the World's Fair Puck; congressional records; magazine coverage in Scribner's and McClure's; guidebooks; academic articles and monographs,

In the 19th century stone-cutting art has become one of the brightest elements in the representation of the Russian Empire. World’s fairs provided ample opportunities for this representation. The article examines the structure of the collections and the list of the exhibitors at one of the largest fairs — The World’s Columbian Exposition of 1893. The paper draws upon both published and archival documents, including those which have not yet been used for the examination of the representation of Russia’s stone art at this exhibition. It reconstructs mineralogical, technical and typological diversity of the exhibited items and the principle of reciprocal completing of the exhibitors. It also
analyzes the items presented by the imperial Petergof, Ekaterinburg lapidary and Kolyvan grinding factories, by Carl Woerffel’s enterprise and a wide range of small Ural producers as well. Due to the discovery of archival materials, a number of items, exhibited in Chicago, was identified in the museum collections in Russia and abroad. Some attributional details for the exhibited Woerffel items are offered which made it possible to propose the authorship and dating for the items from
Russian and foreign collections. The author is also the first to analyze the collection, purchased at the exhibition from the Russian stonecutters for The Field Museum of Natural History in Chicago. A conclusion is drawn about the role of the coloured stones items and the importance of their presentation for the formation of the Russian Empire’s image as one of the most important world centers of the decorative stones development.

Fin-de-siècle Prague, a provincial capital city in the Habsburg empire, was a site of Czech-German nationality conflict. In 1902 it was also home to the largest exhibition of Auguste Rodin's art outside France during his life. Due to the nationalism that enveloped Czech culture and politics, the Rodin spectacle was no mere display of modernism. National activists in the Manes Association of Visual Artists, including Stanislav Sucharda and Jan Kotěra, designed the Rodin exhibition to advance Czech cultural maturity through cosmopolitan art and to convince foreigners of the Czech nation's singularity, unity, and progressiveness. Ultimately, though, the events surrounding the exhibition of Rodin's works in Prague projected Czech disagreement over the meanings of folk heritage and western progress for national identity. Still, the blending of modern display and cultural diplomacy strengthened French-Czech relations and in small but significant ways helped secure Czechoslovakia's creation at the end of World War I.

À partir d’une géographie de la mémoire, j’aborde les stratégies de planification urbaine en relation avec l’organisation, la tenue et le bilan des méga-événements. Leur souvenir, remémoration et manipulation par les élites locales rentrent dans une politique urbaine sur le long terme pour justifier parfois des choix hasardeux ou judicieux. J’aboutis à trois résultats corollaires de la forme, du fond et de la fonction des méga-événements à partir d’une recherche archivistique, d’une enquête de terrain sur les sites olympiques à Barcelone et d’une revue de littérature renouvelée sur le sujet : une complémentarité entre les Jeux olympiques et les Expositions universelles s’observe avec l’importance du palimpseste urbain fonctionnant comme un système intégrateur, une mémoire collective des méga-événements reste prégnante grâce au tourisme de masse et de niche, les qualités de l’éphémère de la manifestation se font ressentir dans la production matérielle et immatérielle forgeant une mémoire collective.

The memory of the mega-events as an instrument of urban planning

From a geography of memory, I discuss urban planning strategies related to the organization, conduct and review the mega events. Their memory, recollection and manipulation by local elites fall into an urban policy in the long term to justify sometimes bad or good choice. I end up with three corollaries results from the form, substance and function of mega-events from archival research, field research at Olympic venues in Barcelona and a review of literature on renewed topic: complementarity between Olympic Games and the World Exhibitions is observed with the importance of urban palimpsest functioning as a system integrator, a collective memory of mega-events remains pregnant with mass tourism and niche qualities transience of the event are felt in material and immaterial production forging a collective memory.

Patrice Ballester, « La mémoire des méga-événements comme instrument de la planification urbaine ?  », Téoros, 33, 1,  2014 8-19.

The landscapes of a world’s fair never provide a neutral and objective vision of the natural environment. To become a landscape, the environment is decomposed and then recomposed by politicians, architects, urban planners, and landscapers, who deform and translate a civilization according to their own aesthetic criteria; through words, languages, plastics, and especially a sensitive conjunction between perceived and lived, imagined and diverted, by the system of representations. Through an upcoming world’s fair, Dubai 2020, offering a portrait of a city that is difficult to sustain, and Osaka 2025, a world’s fair in the making, we approach the very foundations of an eco-fiction for world tourism plagued by the sacrosanct dialectic concerning the lasting effects of the ephemeral. The landscape of world’s fairs is in a way a sort of median, a trajectory, a trajective chain in mesology according to Augustin Berque, seeking to make an urban–nature environment an identity of its own, but with a universal and humanistic character. Nevertheless, they carry in themselves the seeds of their own end or of a principle of hope, one that is utopian and very often imperfect.

Ballester, P. (2020). World's fairs, between eco-fictions and landscapes of progress? Dubai 2020 and Osaka 2025. Sociétés, 2(2), 57-72. https://doi.org/10.3917/soc.148.0057 https://www.cairn-int.info/journal-societes-2020-2-page-57.htm

Proust has shown little interest in the decorative arts of his time, but his work bears the mark of the "submarine style" distinctive of Art nouveau. The low bookshelves with glass panes in the Grand Hôtel room at Balbec ― the symbol of À la Recherche’s unity, according to Georges Poulet in Proustian Space ― prove to be authentic witnesses of “modern style”. But what does “modern style” actually mean? À la Recherche includes five occurrences of the expression that could lead to misunderstanding. Contrary to a preconceived idea, it is not the English name for Art nouveau. This French coined anglicism refers to the international revival of the decorative arts at the beginning of the twentieth century, a fascinating but disturbing blend of aesthetics and social ideas. Proust detected at once and discreetly highlighted the cosmopolitan and "rastaquouère" (so to speak "métèque") inspiration of an ephemeral artistic movement contemporary with the Dreyfus affair. Enriched with an abundant and entirely original iconography, full of new discoveries and identifications, Rastaquarium brings back to life an epoch of which the novelist caught the essence. For the first time the whole question of decorative arts in À la recherche is fully tackled in all its ramifications, in a fascinating instance of the network of connections at the heart of Proust’s system.

Proust n’a manifesté que bien peu d’intérêt pour les arts décoratifs de son temps, mais son œuvre ponctuée d’aquariums est marquée par le «style sous-marin» caractéristique de l’Art nouveau. Les «bibliothèques vitrées» de la chambre de Balbec ― dans lesquelles Georges Poulet voyait le symbole de l’unité de l’œuvre ― se révèlent d’authentiques témoins du «modern style». Mais qu’est-ce que le «modern style»? L’expression, qui revient cinq fois dans À la Recherche du temps perdu, n’avait jamais vraiment été élucidée. Contrairement à une idée reçue, ce n’est en rien le nom anglais de l’Art nouveau. Cet anglicisme bien français désigne un renouveau international des arts décoratifs qui, mêlant esthétique et idées sociales, fascine et inquiète… Proust a parfaitement perçu et discrètement mis en valeur l’inspiration cosmopolite et «rastaquouère» d’un courant artistique dont le bref épanouissement coïncide avec les années de l’affaire Dreyfus. Enrichi d’une vaste iconographie, entièrement originale, fourmillant de trouvailles et d’identifications nouvelles, Rastaquarium fait revivre une époque dont l’écrivain a su capter l’essentiel. Toujours abordée de façon fragmentaire, la question des arts décoratifs dans la Recherche n’avait jamais été traitée dans son ensemble, seule manière de saisir les réseaux de correspondances si chers à Proust.


Table of Contents

Note sur l’iconographie – Remerciements – Abréviations

Rastaquarium

Qu’est-ce que l’Art « nouveau » ?

Le « modern style » n’est pas un style

Naissance d’une expression

Le mobilier des Proust

Le monde de Liberty

Contre Ruskin

1905 : « Sur la lecture »

La Femme inconnue de Lille et le Printemps par « Brown »

Le moment Maple

Bing !

Le « modern style » dans la Recherche

Les bibliothèques vitrées de Balbec

De la référence anglaise à la référence bavaroise : le Salon d’Automne de 1910

Style « sous-marin »

Le Royaume de Neptune ou la civilisation de l’aquarium

Le « modern style », agent de l’étranger

L’esthétique dreyfusarde

Siegfried n’est pas Samuel

Le règne de l’impur

Le style franco-sémitique

Une nouvelle croisade

Dreyfusards avant Dreyfus

Style rastaquouère

Bibliographie - Index nominum - Table des illustrations

Estudo sobre a ideologia do progresso e sua relação com as Exposições Internacionais.  A participação do Brasil nas Exposições de 1862, 1908 e 1922.
Research on progress as an ideology and its relationship with International Exhibitions.  Brazil and the  Fairs of 1862, 1908 and 1922.

As a communication medium, the world's fairs of the 19th century were the contemporary equivalent of the present-day world wide web. Given their enormous attendance figures, which far exceeded the reach of all other media, the historical significance of international exhibitions can hardly be overstated. From the opening of the "Great Exhibition of the Works of Industry of All Nations" in London in May 1851 onward, large expositions were held periodically in almost all major cities. The aim was to present to an international audience a miniature version of the world that was as true to scale as possible, present only for a limited time at a clearly defined site within the ever-changing host city. This article gives an overview of the historical development of this 19th century mass- and meta-medium, describes its most significant forms, functions and effects, and discusses the extent to which world's fairs in Europe have decreased in impact since the beginning of the 20th century.

World Expo and Tourism - a new Utopia? From London 1851 to Dubai 2020.

Through the recent and past World expo and more particularly the World expo of Milan 2015 and Port-au-Prince 1949, we recall that this tourist practice of the pleasure trip in a large city dates back to the XIXth century, it accompanies the origins of Our modern tourism, while becoming an instrument of geopolitics and tourist marketing of prime importance to cities and host countries (branding). Exhibitions can be seen as an urban lever, but also a way to make travel and understand our world through a system of representation of local and global identities that always emphasizes scientific discovery and cultural experience through the national pavilion. These giant events – mega-events - are based on a staging and narrative universal theme generally questioning the concept of sustainable development and the renewed attractiveness of the destination. Our analysis focuses on the most recent of the World expos and a forgotten exhibition belonging to the cultural area of the Caribbean, which reveals three dynamics associating mega-event tourism with the utopia of initiatory journeys, namely: reinvent and regain a certain success of frequentation implying a redefinition of the fields and uses of a disrupted utopia; to make travel is an act both scenographic and symbolic through the pavilion involving artifices and more and more digital declensions, the quest for this sustainable practice of travel is confronted with its heritage and its memory at different scales and temporalities.

English translation of the article published in French,
Patrice Ballester, « Les expositions universelles, une utopie touristique toujours d’actualité ? », Études caribéennes [En ligne], 37-38 | Août-Décembre 2017, mis en ligne le 15 novembre 2017, consulté le 19 février 2018. URL : http://journals.openedition.org/etudescaribeennes/11239 ; DOI : 10.4000/etudescaribeennes.11239

The article provides an overview of the Pleyel company during a fifty-year period, starting at the time of the 1855 Exposition Universelle in Paris and the death of the well-known piano maker Camille Pleyel. During this period, the famous French firm was directed by Auguste Wolff (from 1855 to 1887) and Gustave Lyon (from 1887 to the beginning of twentieth century). The entrepreneurial talents,  scientific abilities and musical skills of Pleyel’s two successors made this company the biggest and most innovative French piano producer of the second half of the nineteenth century. Both Wolff and Lyon played leading roles on the occasion of universal exhibitions in which they promoted their renowned pianos as well as many of their new inventions which are described in the article: the piano à double percussion, the piano-pédalier, the clavier transpositeur, the pédale tonale, the harpe éolienne, the new-designed clavecin, the piano-double, the harpe chromatique, the harpe-luth, the Pleyela.

Anche in: Storia della civiltà europea. Vol. 16 - il Novecento. Arti visive,  RCS Quotidiani - Special edition for Il Corriere della Sera, Milano 2008, ISBN: 9771828050157, pp. 517-522.

Dal mondo antico allʼinizio del terzo millennio: migliaia di saggi e oltre 10.000 immagini, un imponente corpus testuale e iconografico organizzato in periodi cronologici e in aree tematiche: storia, filosofia, arti visive, scienza e tecnologia, musica, letteratura e teatro, comunicazione. Unʼopera curata da Umberto Eco, che propone nuove modalità di esplorazione della storia e del sapere e che offre potenti strumenti capaci di intrecciare e collegare, grazie a percorsi dinamici, i personaggi, le idee e gli eventi che hanno formato la nostra cultura. Lʼidea di partenza di Umberto Eco è quella di realizzare unʼopera a carattere enciclopedico che aiuti ad avere il senso delle distanze storiche, a stabilire rapporti di contemporaneità tra eventi di natura diversa e che consenta di ricostruire fenomeni di lunga durata, dinamiche sociali e culturali, comportamenti della vita quotidiana. Il progetto della Storia della Civiltà Europea, nato nel 1993, antesignano di unʼeditoria multimediale di qualità, raggiunge solo il suo compimento editoriale e la sua maturità tecnologica, organizzando i propri contenuti in ogni formato disponibile per ogni tipo di pubblico.

Nel Novecento gli intrecci fra arte, politica, società hanno prodotto ribaltamenti, cancellazioni e rinascite di modelli artistici oscillanti fra la ricerca di un ordine nuovo e la fascinazione per l’irrazionale, fra l’assunzione dell’arte come strumento politico e il rigetto di ogni ideologia, fra la tensione a un’arte individuale e aristocratica o al contrario anonima e collettiva. Nella collisione di fine Ottocento fra tradizione e novità dirompenti cola a picco l’idea di continuità nella storia: il secolo si apre all’insegna della rottura e delle sperimentazioni più ardite in termini di linguaggio e di contenuti. Le avanguardie, tra cui si contano cubismo, espressionismo, futurismo, neoplasticismo e costruttivismo, alleate in un percorso di astrazione, tagliano traguardi che paiono senza ritorno: la cancellazione del soggetto, la forma come forma assoluta, la nuova preminenza del linguaggio, la negazione del racconto, l’esilio dei sentimenti, tutte conquiste che sanciscono il primato culturale dell’Europa. Finché nell’arco di alcuni decenni si verifica un capovolgimento di prospettiva col ritorno al figurativo e con lo spostamento del cuore culturale dall’Europa verso New York e Los Angeles, rimesso più tardi in discussione dall’emergere della nuova polarità dell’Asia. In questo ebook si possono trovare tutte le maggiori espressioni artistiche del Novecento, in cui l’ideale dell’arte subisce un progressivo spostamento verso il futuro, arrivando, nelle sue forme più estreme, a produrre un’arte internazionalista, senza radici e senza memoria, dotata di una lingua aniconica universale, che cancella i confini delle identità nazionali e si proietta nella realtà globalizzata.

https://culturesvisuelles.org/archifictions/

Les expositions universelles et internationales peuvent-elles servir de trame scénaristique pour les superproductions hollywoodiennes reposant sur le mythe de l’Amérique conquérante et les aventures des super-héros ? Dans cette étude de cas, le cinéma et ses dispositifs nous aident à penser et à voir la ville ou les villes du MCU par deux temporalités se complétant : la temporalité imaginaire urbaine des films de super-héros et la temporalité avérée des expositions universelles tenues aux États-Unis. Les films que nous analysons sont les témoins, voire la propagande d’un monde occidental se permettant de recréer une chronologie fictive au seul but d’inclure dans le scénario d’une superproduction hollywoodienne un élément de culture de masse, dite pop culture pouvant servir de cadre et de décor à tout un panel de spectateurs. Les expositions universelles sont utilisées comme des référents communs aux États-Unis par les traces de mémoire des grandes manifestations de New York, Chicago et Seattle qui s’additionnent aux souvenirs des fêtes géantes parisiennes, londoniennes ou asiatiques. Un premier regard sur des facilités scénaristiques créatrices de légendes urbaines s’analyse par les représentations du progrès et de ses affres pour des héros comme Tony Stark, tout en rappelant les liens étroits entre cinéma, architecture et exposition universelle (I.), permettant d’entrevoir la création d’une ligne temporelle fictive d’exposition universelle comme élément fédérateur d’une histoire fantastique pour les masses dans le cadre de la franchise Marvel Studio (II.). Enfin, la ville est un environnement qui offre des contre-points importants au scénario du MCU avec notamment la disparition de plus de la moitié de la population de la planète, une ville catastrophe, ville des combats, ville de la co-présence entre la vie, la mort et ses disparitions (III.).

https://culturesvisuelles.org/archifictions/

Can World's FAIRS WORLD EXPO  serve as a backdrop for Hollywood blockbusters based on the myth of conquering America and the adventures of superheroes? In this case study, the cinema and its devices help us to think and see the city or cities of the MCU through two complementing temporalities: the imaginary urban temporality of superhero films and the proven temporality of the world exhibitions held at the United States. The films that we analyze are the witnesses, even the propaganda of a Western world allowing itself to recreate a fictitious chronology with the sole aim of including in the scenario of a Hollywood blockbuster an element of mass culture, known as pop culture that can be used. setting and decor for a whole panel of spectators. The World's Fairs are used as common references in the United States by the traces of memory of the major events in New York, Chicago and Seattle which are added to the memories of the giant festivals in Paris, London or Asia. A first look at the scriptwriting facilities creating urban legends is analyzed by the representations of progress and its pangs for heroes like Tony Stark, while recalling the close links between cinema, architecture and universal exhibition (I.), allowing to 'glimpse the creation of a fictional World Expo timeline as a unifying element of a fantasy story for the masses as part of the Marvel Studio (II.) franchise. Finally, the city is an environment that offers important counterpoints to the MCU scenario with in particular the disappearance of more than half of the planet's population, a disaster city, city of battles, city of co-presence between the life, death and its disappearances (III.).

Esta obra reúne once ensayos originales acerca de la función de las imágenes en los procesos de formación de la nación en América Latina, incluyendo contribuciones de especialistas de Europa, Estados Unidos, América Latina e Israel. Inspirados por el reciente "giro pictorial" en las ciencias sociales, estos textos no sólo transcienden los límites nacionales, sino también los disciplinares, combinando acercamientos de la historia, la literatura, los estudios culturales y las ciencias políticas. En general, los autores indagan sobre la función que han desempeñado las imágenes de lo propio y de lo ajeno -como parte de discursos nacionalistas- dentro de exposiciones y museos, en la prensa, en el arte, en la fotografía, en el cine, así como en forma de monumentos y estatuas, es decir en su función de "imágenes públicas".

Mobility, world's fair, world expo, legacy of mega-events, city of the future, urban design, the lasting effects of the ephemeral, are on the program for this issue of this Qualité de Villes # 5 - Fall 2021 - RATP Group. Including a passage on Barcelona with a quote from Patrice Ballester and his works.

Barcelona.
When the event is inspired
by the collective memory
The 1888 and 1929 World Fairs transformed Barcelona,
marking the collective memory and giving the Catalan capital
its cultural identity, as researcher Patrice Ballester(1) has shown .
While the Ciutadella Park was created in 1888 and became
an emblem of the city, the creation of a common identity
also came through several means, notably popular literature,
according to Ballester. A perfect illustration of this is Eduardo
Mendoza’s novel, The City of Marvels, depicting Barcelona
between the two World Fairs. The city and the country
keep the memory of these major events alive, through regular
publications from the municipal archives, press articles
and cultural events.

(1) Patrice Ballester (2014). «
La mémoire des méga-événements comme instrument de la planification urbaine ? » Téoros, numéro 33.

https://ratpgroup.com/ratpgroupe-content/uploads/2021/10/1006_ratp_2109075_mag_5_qualite_de_villes_gb_mel_double.pdf

The thesis analyzes the contribution of the buildings built for the World’s Fairs to the history of architecture structural typologies, defining these contributions, their importance and the fields where they're acknowledged, supporting the fact that these events have been Structural Experimentation Laboratories. The work focuses on typological and design aspects, ranging the period from the first World Fair held in 1851 to the year 2000. Numerous historical relations are established between Exhibition buildings and others besides these events, either precedents or sequels. This method places exhibition buildings in the technological context of their time and therefore proves justice to its value. The thesis not only aims to technical issues but also relates the structures of exhibition buildings to the different architectural trends based on technological exaltation or structural fantasy, taking also into account the main historical events in western world during the studied period. Additionally, there are many references to other un-built projects that took part in the several design competitions for these exhibitions that help to build up the idea of World’s Fairs as creative catalysts. The thorough documentary work and the rigorous analysis of all these documents delivers justice to the value of these buildings, otherwise in marginal consideration, and helps detect mistakes in classical publications on history of modern architecture. Also, this thesis reveals many written and graphic documents unpublished in contemporary editions.

La tesis analiza la aportación que han supuesto las estructuras de los edificios construidos con motivo de las Exposiciones Universales a la historia de las tipologías estructurales de edificación, determinando cuales han sido estas aportaciones, en que campos se han producido y su trascendencia histórica, fundamentando documentalmente el carácter de Laboratorio de Experimentación de Estructuras que han constituido estos acontecimientos. El trabajo se centra fundamentalmente en aspectos tipológicos y de diseño estructural, abarcando el período histórico comprendido entre la primera Exposición Universal, celebrada en 1851, y el año 2000. Se establecen relaciones históricas entre los edificios expositivos y otros ajenos a estos eventos, que han constituido antecedentes y secuelas de los mismos, metodología que permite el engranaje del edificio de exposición en el contexto tecnológico de cada época y, por tanto, su justa puesta en valor. La tesis no se centra únicamente en aspectos técnicos sino que también establece múltiples relaciones entre las estructuras de los edificios expositivos y determinadas corrientes arquitectónicas basadas en la exaltación tecnológica o en la fantasía estructural, valorando además la influencia de los principales acontecimientos del devenir histórico general del mundo Occidental en el período estudiado. Asimismo, se realizan numerosas referencias a proyectos no construidos, permitiendo apuntalar la idea de la Exposición Universal como catalizador de la creatividad estructural. El trabajo documental realizado y el análisis riguroso de dicha documentación han permitido poner en su justo valor algunos pabellones expositivos que han permanecido en una situación histórica marginal. La tesis saca a la luz abundante documentación tanto gráfica como escrita inédita en publicaciones contemporáneas.

This thesis is avaliable in hight resolución .pdf on the following links:
Esta tesis está disponible en .pdf de alta resolución en los siguientes enlaces:
http://openarchive.icomos.org/1705/
http://hdl.handle.net/2183/16523